It really wasn’t on my radar. But I must have signed up for a co-writing salon with Lemon Grove Writers. And you know how it is, afterwards they send you they send you other emails, sharing the stuff to buy into. Well one such email was sharing that the Lemon Grove Writerswere offering a free 30 day poetry prompt email send out for the month of April to coincide with National Poetry Month in the States. As you know I’ve tried a number of years to write a poem a day in April, some years more successful than others.
It’s free, what did I have to lose? So expect to find a poem a day here for the month of April as I try to create something to the given prompt. I begin today with the weather. If you want to receive these poetry prompts in your inbox, just sign up here. Happy writing.
A recent addition to my portfolio has been details about my Trace Mentorship opportunity. This was an applied for opportunity to experience the time and space to focus on my photography through a structured programme with other women over 35 years old.
Through a series of talks, presentations, peer and professional reviews, the aim is to gain confidence, knowledge, exposure and further opportunities to develop our skills and establish our practice.
I haven’t really been able to devote the required time and attention to this programme due to immersing myself within the BALTIC commission, it feels like for most of 2022. With this being complete and installed, back from Washington State, now I have the time to really get to grips with this opportunity.
It started with a portfolio review with three experts. I had the great pleasure and honour of talking one on one with Hettie Judah,Cindy Sissokho and Bindi Vora. And what a tremendous opportunity this was to sit down with them (virtually) and talk about my work, my vision, my mission etc.
Not only were they very positive and supportive about my work, but they also offered inspiration, encouragement, reassurance and permission. Yes from talking to these people within the know, my practice, what I’m doing, or trying to do was recognised and appreciated.
I was given back permission and the confidence to keep doing me. To keep pushing the boundaries, to not place limitations on myself, my practice, or what a photograph can be/ can do.
I’m in a much better place now to expand my way of being, seeing and doing, and continue to bring my mixness, hybridity to what I do. I’m excited to see where this takes me.
I’m enjoying the process as usual and not worrying about the end product. And I’m taking my time, embracing the slow. This feels nourishing and good for my soul.
I set myself the task of touching the Hinterlands commission every day for the next 100 days from the beginning of July. And on the whole, I have succeeded so far in this task. Day 23 of July and I’ll be honest, this commission is filling my waking and sleeping hours, as I agonise over how to bring my ideas and concepts to fruition. How to communicate what I think, or feel or see to others. How to make that connection of understanding, empathy and solidarity when exploring the Black woman’s body with/in nature.
This is not an easy task. And I think I’ve made the task more difficult for myself by trying to incorporate multiple and diverse art form into the brief. It’s that same old story, that fear of never getting another chance like this so I have to say everything I’ve ever wanted to say on the subject all at once to make sure I get my message across. That I use this opportunity to it’s limits as this might be my only shot, my only slot, my only opportunity to speak and shine.
Of course this is not based on fantasy. This is based on fact. Did you know that just 2,000 artworks in the UK’s permanent art collections are by Black artists – most of which aren’t on display?
And even though over the last couple of years, there has been more visibility and opportunities for Black and People of Colour artists to be part of the British art scene/establishment, for example with Sonia Boyce winning the top prize, the Golden Lion as she became the first Black female artist to represent Britain at the Venice Biennale. This is still a rarity and not the norm.
“It seems almost ridiculous that it takes into the 21st century for a Black British female artist to be invited to do Venice,”
Sonia Boyce
We are still operating in a highly racist, discriminatory system. FACT. I can continue to keep chipping away at this. And I will. But …
For here and now, I think it comes down to confidence and belief in what I’m doing. To silence the outside noise. Ignore the internal critic and just do it. Do the things I want to do and move on.
At the end of these 100 days, I’ll have a collection of items, products, creations that I will then pull together into a whole. Into saying something about something.
We will have to wait and see. But I’m enjoying the process.
It is with great delight that I share with you this forthcoming publication.
Late last year, I submitted a completed mixmoir essay to Eleanor Cheetham, at Creative Countryside. This was the end result of an application submitted on invitation by Eleanor last August.
Now, coming next month, through a successful Indigogo fund raising campaign, Intrinsic will be out in the world. And I’m overjoyed to see this project succeed. It’s been a while in the making, which isn’t a complaint as I am an advocate of ::SLOW:: but it was touch and go if this project was going to come to fruition due to finances. and that would have been a great shame and disservice if this beauty was lost to the world.
An anthology of 12 deep-rooted connections with the more-than-human world, this book is not like any other nature writing text out there. This anthology supports and uplifts the diverse voices which exist within this writing genre at the same time as expanding and redefining what nature writing can be.
I’m one of the twelve writers featured in this anthology. I took the time, and the much needed space, to explore something that I’ve been carrying around within my body and soul for a while; the link to the sea for my ancestors and me.
Seascape- Grief and Grievance and Healings is the title. It’s a narrative mixmoir piece rich in memories and hauntings, voices and references. I’m really proud of this baby and it was such a delightful process of creation throughout it all.
Please consider checking the anthology out, published by Creative Countryside and available to buy next month, July 2022.
Living Wild Studios 